Sampling Media

Edited by David Laderman and Laurel Westrup

The first critical study of sampling and remixing across audio-visual media

Explores the politics of sampling practice beyond copyright law

Includes extensive companion website with video illustrations

Sampling Media

Edited by David Laderman and Laurel Westrup

Description

This book puts sampling studies on the academic map by focusing on sampling as a logic of exchange between audio-visual media. While some recent scholarship has addressed sampling primarily in relation to copyright, this book is a first: a critical study of sampling and remixing across audio-visual media. Of special interest here are works that bring together both audio and visual sampling: music that samples film and television; underground dance and multimedia scenes that rely on sampling; Internet "memes" that repurpose music videos, trailers and news broadcasts; films and videos that incorporate a wide range of sampling aesthetics; and other provocative variations. Comprised of four sections titled "roots," "scenes," "cinema" and "web" this collection digs deep into and across sampling practices that intervene in popular culture from unconventional or subversive perspectives. To this end, Sampling Media extends the conceptual boundaries of sampling by emphasizing its inter-medial dimensions, exploring the politics of sampling practice beyond copyright law, and examining its more marginal applications. It likewise puts into conversation compelling instances of sampling from a wide variety of historical and contemporary, global and local contexts.

Sampling Media

Edited by David Laderman and Laurel Westrup

Table of Contents

About the Companion WebsiteList of Contributors Introduction: Into the Remix: the Culture of Sampling 1Laurel Westrup and David LadermanPART I: ROOTSChapter 1: Shadow/Play: The Cinematic, Remixed, by David LadermanChapter 2 : Remixing With Rules: Constraint and Potential in Restrictive Remixes, by Richard L. EdwardsChapter 3 : "Whatever Rubbish Was at Hand": The Emergence of the Media Sample in Guy Debord's Films, by R.D. CranoChapter 4 : Rigorous Infidelity: Whole Text Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard, by Barry MauerPART II: SCENESChapter 5: The Sydney Club Scene and the Sampling of Global Electronic Dance Music Culture, by Ed MontanoChapter 6: Piggin' Out! Constructing Spanish Cultural History Through Media Sampling, by Miguel Fernández Labayen & Vicente Rodríguez OrtegaChapter 7: Time Stand Still: Sampling Scenes and Slowing Media, by Ryan Alexander DiduckChapter 8: From Méjico Máxico to Político: Sampling the Past and the Present in the Mexican Musical Scene, by Héctor Fernández L'HoestePART III: CINEMAChapter 9: Love in the Club: Karaoke Realism in Chinese and Hong Kong Cinema, by Brian HuChapter 10: Articulating a Hip Hop Sampling Aesthetic Through Film: Music and Memory in Three Hip Hop Documentaries, by Jesse StewartChapter 11: "Dreamlo-lo-lover Where Are You-u-u?" Sampling as Analysis, Sampling as Symptom, by Martin J. ZeilingerChapter 12: (In)appropriation: Productions of Laughter in Contemporary Found Footage Films, by Jaimie BaronPART IV: WEBChapter 13: All Work and No Play: Trailer Park, the Mashup, and Industrial Pedagogies, by Jonathan CohnChapter 14: Popular Culture through the Eyes, Ears, and Fingertips of Fans: Vidders, Anime Music Video Editors, and Their Sources, by Samantha CloseChapter 15: How the World is Being Remade: The Case of Antoine Dodson and the Limits of Sampling as Trans-Cultural and Cross-Class Expression, by Corella Di FedeChapter 16: Thinking Through Sampling, Literally, by Laurel WestrupAfterword Sampling Across the CurriculumLaurel Westrup and David LadermanBibliographyIndex

Sampling Media

Edited by David Laderman and Laurel Westrup

Author Information

David Laderman is Professor of Film at the College of San Mateo. He has also taught film and media studies at the University of California, Davis, San Francisco State University and Stanford University. His previous publications include Driving Visions: Exploring the Road Movie (2002) and Punk Slash Musicals: Tracking Slip-Sync on Film (2010).

Laurel Westrup has a Ph.D. in Cinema and Media Studies from UCLA, where she is currently a Lecturer in Writing Programs. She also teaches courses in Film and Electronic Arts at CSU Long Beach. Her work has appeared in the journals Film and History and Spectator.

Contributors:

Jaimie Baron is an Assistant Professor of Film Studies at the University of Alberta and Director of the Festival of (In)appropriation, an annual international festival of short experimental found footage films. She is the author of The Archive Effect: Found Footage and the Audiovisual Experience of History (2013).

Samantha Close is a graduate student in the USC Annenberg Communications PhD program. Before coming to USC, she received an M.Phil in Digital Design from the Glasgow School of Art. Her research interests are in fan studies, critical theory, theory-practice, new media, gender, and the relationship between Japan and the US. Her work focuses particularly on amateur media production and transforming models of creative industries and capitalism.

Jonathan Cohn's work focuses on the relationship between digital cultures, technologies, feminism and neoliberalism. His articles have been published in Camera Obscura, Spectator, and several anthologies. He is currently teaching at the University of Alberta.

R.D. Crano is a Ph.D. Candidate in Comparative Studies at The Ohio State University. His writing on cultural theory, radical aesthetics, and cinema has appeared in Film-Philosophy, The Journal of Dramatic Theoryand Criticism, Foucault Studies, Radical Philosophy, and elsewhere. His dissertation, "The Neoliberal Medium," explores the epistemic foundations of contemporary computer cultures within market-oriented social thought and cybernetic systems theory at various points of contact and conflict in postwar America.

Ryan Alexander Diduck is a Ph.D. candidate and course lecturer on sound culture in the department of Art History and Communication Studies at McGill University. He has written on mobile screen devices, mediated temporality, and digital networks. His most recent research centers on the Musical Instrument Digital Interface. Diduck also contributes cultural criticism to The Quietus and Wire magazine.

Corella Di Fede is a Ph.D. Candidate in Visual Studies at the University of California, Irvine. Her dissertation examines how scientific, philosophical, political, and practical concepts of the body and the subject circulate through popular culture, in particular via representations of metamorphosis on reality TV. Her research interests span traditional and new media forms, science and technology studies, feminist and queer theory, and critical race studies. In addition to lecturing in Film and Electronic Arts at CSULB, she continues to work in the independent film industry at the Sundance Institute.

Richard L. Edwards is the Executive Director of iLearn Research and an Adjunct Professor of English at Ball State University in Muncie, IN. He is the co-author of The Maltese Touch of Evil: Film Noir and Potential Criticism (2011).

Héctor Fernández L'Hoeste (Ph.D. in Hispanic Languages and Literature, Stony Brook University 1996) is Professor at Georgia State University in Atlanta, where he teaches Latin American cultural studies. He is also the director of the Center for Latin American and Latino/a Studies at Georgia State. His publications include Narrativas de representación urbana (1998), Rockin' Las Americas (2004), Redrawing The Nation (2009), and Cumbia! (2013). His articles have appeared in journals such as Hispania, Chasqui, NationalIdentities, International Journal of Comic Art, Revista Iberoamericana, Revista Latinoamericana de Estudios sobre la Historieta (Cuba), Cenizas (Mexico), and Film Quarterly. He has also authored articles on Latin America for Imagination Beyond Nation (1998), Imagining Our Americas (2007), and Cultures of the City (2010), respectively.

Miguel Fernández Labayen is an assistant professor at the Universidad Carlos III de Madrid. His research focuses on contemporary Spanish film culture. He has contributed to several book collections including ACompanion to the Cinema of Pedro Almodóvar (2013) and Transnational Stardom: International Celebrity in Film and Popular Culture (2013). He is also a programmer and curator in several film festivals and art centers.

Brian Hu is the Artistic Director of the Pacific Arts Movement and San Diego Asian Film Festival. His writings have appeared in Screen, Velvet Light Trap, and the Journal of Chinese Cinemas. He received his PhD in Cinema and Media Studies at UCLA and teaches at the University of San Diego.

David Laderman is Professor of Film at the College of San Mateo. He has also taught film and media studies at the University of California, Davis, San Francisco State University and Stanford University. His previous publications include Driving Visions: Exploring theRoad Movie (2002) and Punk Slash Musicals: Tracking Slip-Sync on Film (2010).

Barry Jason Mauer earned his doctorate in Cultural Studies from the University of Florida's English Department in 1999. Since 1999, Dr. Mauer has been at the University of Central Florida in Orlando where he now serves as an associate professor in the English Department and the Texts and Technology Ph.D. program. His primary interests include digital media, theory, and the arts. In addition to his work as a teacher and researcher, Mauer also writes and records music.

Ed Montano is a lecturer in Music Industry at RMIT University, and writes for the Australian dance music website www.inthemix.com.au. His research focuses on commercial club culture and the dance music industry in Australia. Ed is Reviews Editor for Dancecult: Journal of Electronic Dance Music Culture, and is on the executive committee of the International Association for the Study of Popular Music.

Vicente Rodríguez Ortega is an assistant professor at the Universidad Carlos III de Madrid. He has a PhD. in Cinema Studies from NYU. He is the co-editor of Contemporary Spanish Cinema and Genre. He has also contributed to several book collections including Gender meets Genre in Postwar Cinemas (2012) and A Companion to the Cinema of Pedro Almodóvar (2013). He does not believe in most copyright laws.

Jesse Stewart is an award-winning percussionist, composer, visual artist, researcher, and writer. His writings on music and art have appeared in journals including Black Music ResearchJournal, American Music, and Contemporary Music Review. He is an Associate Professor in the School for Studies in Art in Culture at Carleton University in Ottawa, Canada. www.jessestewart.ca

Laurel Westrup received her Ph.D. in Cinema and Media Studies from UCLA in 2011. She is a Lecturer in Writing Programs at UCLA and she also teaches courses in the Film and Electronic Arts department at CSU Long Beach. Her work has appeared in the journals Film and History and Spectator, and she is currently working on a manuscript on short musical media before MTV.

Martin Zeilinger is a SSHRC Banting Postdoctoral Fellow in Law and Culture at York University, and holds a PhD in Comparative Literature from the University of Toronto. He teaches in the humanities and in media studies at several Canadian universities, including OCAD University and the University of Toronto at Mississauga. His research on topics related to creative practices of appropriation, legal theory, and questions of cultural ownership is published in several edited books and in journals including Culture Unbound, Computer Music Journal, and IASPM Journal. He is also a co-editor of, and contributor to, Dynamic Fair Dealing (2013), which theorizes progressive copyright reform in a cultural rights framework.

Sampling Media

Edited by David Laderman and Laurel Westrup

Reviews and Awards

"With Sampling Media, David Laderman and Laurel Westrup have ushered in a monumental collection that extends and reroutes all previous discussions about sampling in the arts and culture. History, theory, law, technology and creative aesthetics are each explored with serious rigor, yet there is ample room here for the mirth and play that characterize the sampling sport. If you thought you knew what sampling is, this book will make you think again." --Murray Forman, Media and Screen Studies, Northeastern University

"Sampling Media is a startlingly insightful collection that explores the wide array of cultural practices associated with sampling culture in all of its vibrant diversity. The essays, which cover a remarkable set of approaches to hybrid media practices from high art to pop culture, are assembled with the nuance and precision of any great playlist." --Virginia Kuhn, Associate Professor, School of Cinematic Arts, University of Southern California